/f^^sMvU- w$Wm&w&:mm^mmmB ifi Welcome

This evening the Boston Symphony Orchestra celebrates at one time both the reali- zation of a dream and the well-deserved recognition of two musicians who discovered their professional lives at Tanglewood and became mentors and models for thousands of young artists who over the decades since have made the world of music their own. With the opening of Seiji Ozawa Hall and the new Leonard Bernstein Campus, head- quarters of the Tanglewood Music Center, the decades before us hold promise of excit- ing possibilities. . The need for these new facilities became manifest more than ten years ago, as a con- sequence of the irreversible erosion in the condition of the old Theatre-Concert Hall. Their creation became possible on December 31, 1986, with the agreement of Mr. and Mrs. Mason Harding to sell to the Boston Symphony the Highwood estate. Leader- ship givers Norio Ohga, Jane and Jack Fitzpatrick, the Kresge Foundation, Sony Corporation of America, Liz and George Krupp,< and the Florence Gould Foundation were joined by hundreds of other generous donors whose names are listed in the com- memorative book we have published today, entitled "Seiji Ozawa Hall: A Room for Music. " Mr. Ohga, a leading figure in the business world as GEO of Sony Corpora- tion, is also a deeply committed musician. Given the privilege of naming the new hall, he chose to name it for his countryman Seiji Ozawa as the culmination of Mr. Ozawa's 20th Anniversary Year as Music Director of the BSO and in tribute to his important influence on music throughout the world in his thirty-four-year association with the Tanglewood Music Center. Architect William Rawn Associates, acoustician Lawrence Kirkegaard, and an out- standing team of consultants and artisans have given us a hall of great beauty, simplic- ity, and versatility. Seiji Ozawa Hall will be the site of orchestra and choral concerts,\ chamber music performances, solo recitals, and many other activities including record- ings. With scheduling foresight, our design and building committees helped to make it possible for construction to be accomplished on time and within the approved budget. The new campus and ancillary structures follow a thoughtful master plan conceived by William Porter and Catherine Verhulst of the firm of Carr, Lynch, Hack and Sandell. Their goal, and ours, was to provide for the future of Tanglewood without losing the magical atmosphere that has meant so much to generations of musicians and music lovers,. We hope you will agree that that goal has been achieved. With deep gratitude we direct your attention to the listings in "A Room for Music" of donors, designers, and workers who have collaborated so successfully on the reali- zation of Seiji Ozawa Hall. Tonight's concert is the culmination of a week of rehearsals and special events honoring all of these participants. NEC, the longtime and generous sponsor of the BSO's concert tours, has underwritten this special opening week for the 1994 Tanglewood season. We offer thanks as well to all of the performing artists who are contributing their services for this concert, to John Williams—another star in the Tanglewood firma- ment—for creating his new cello concerto for this event, and to all those whose pres- ence in the audience signifies their devotion to the continual renewal of/the Tangle- wood ideal. »

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George H. Kidder Kenneth Haas President, Board of Trustees Managing Director Boston Symphony Orchestra Boston Symphony Orchestra Seiji Ozawa, Music Director

One Hundred and Thirteenth Season, 1993-94

Trustees of the Boston Symphony Orchestra, Inc.

J. P. Barger, Chairman George H. Kidder, President Mrs. Lewis S. Dabney, Vice-Chairman Nicholas T. Zervas, Vice-Chairman and President-elect

Mrs. John H. Fitzpatrick, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer

David B. Arnold, Jr. William M. Crozier, Julian T. Houston Mrs. August R. Meyer Peter A. Brooke Jr. Mrs. BelaT. Kalman Molly Beals Millman James F. Cleary Deborah B. Davis Allen Z. Kluchman Mrs. Robert B.

John F. Cogan, Jr. Nina L. Doggett Harvey Chet Newman

Julian Cohen > Dean Freed Krentzman Peter C. Read William F. Connell AvramJ. Goldberg George Krupp Richard A. Smith

Thelma E. Goldberg R. Willis Leith, Jr. Ray Stata Trustees Emeriti

Veron R. Alden Nelson J. Darling, Jr. Mrs. George I. Mrs. George Lee Philip K. Allen Archie C. Epps Kaplan Sargent

Allen G. Barry Mrs. Harris _ Albert L. Nickerson Sidney Stoneman

Leo L. Beranek FahnestOck Thomas D. Perry, Jr. John Hoyt Stookey Abram T. Collier Mrs. John L. Grandin Irving W. Rabb John L. Thorndike

Other Officers of the Corporaration John Ex Rodgers, Assistant Treasurer Michael G. McDonough, Assistant Treasurer Daniel R. Gustin, Clerk

Board of Overseers of the Boston Symphony Orchestra, Inc.

Thelma E. Goldberg, Chairman Robert P. O'Block, Vice-Chairman Jordan L. Golding, Secretary

Mrs. Herbert B. Harry Ellis Dickson Martin S. Kaplan David S. Nelson Abelow Phyllis Dohanian Susan B. Kaplan Mrs. Hiroshi H. HelaineB. Allen Mitchell L. Dong Richard L. Kaye Nishino Harlan E. Anderson Hugh Downs Frances Demoulas Paul C. O'Brien Amanda Barbour Goetz B. Eaton Kettenbach Vincent M. O'Reilly Amis Harriett Eckstein Robert D. King Louis F. Orsatti Caroline Dwight Bain George M. Elvin Mrs. Gordon F. John A. Perkins Mrs. David Bakalar Deborah A. England Kingsley Millard H. Pryor,Jr.

Mrs. Leo L. Beranek Edward Eskandarian David I. Kosowsky Robert E. Remis Donald C. Katherine Fanning John R. Laird William D. Roddy

Bowersock, Jr. J. Richard Fennell Mrs. William D. John Ex Rodgers William L. Boyan Eugene M. Freedman Larkin, Jr. Keizo Saji Robin A. Brown Mrs. James G. Mrs. Hart D. Leavitt Mrs. Raymond H. William M. Bulger Garivaltis Thomas H. Lee Schneider Mrs. Levin H. Mrs. Susan D. Hall Laurence Lesser Mrs. Carl Shapiro

Campbell John P. Hamill Frederick H. . Malcolm L. Sherman

Earle M. Chiles Ellen T. Harris Lovejoy, Jr. . L. Scott Singleton Dean Robert C. Clark Daphne P. Diane H. Lupean Micho F. Spring

Gwendolyn Cochran Hatsopoulos Barbara Jane Macon Vondal'M. Taylor, Jr. Hadden Joe M. Henson Mrs. Harry L. Marks William F. William H. Congleton Bayard Henry William F. Meagher Thompson William F. Connell Ronald A. Homer Nathan R. Miller Robert A. Wells

Jack Connors, Jr. Mrs. Marilyn CatalinaB. Montes Mrs. Thomas H.P. Albert C. Cornelio Brachman Richard P. Morse Whitney Joan P. Curhan Hoffman David G. Mugar Margaret Williams- -

Nader F. Darehshori F. Donald Hudson Robert J . Murray Decelles JoAnne Dickinson Lolajaffe

Program copyright ©1994 Boston Symphony Orchestra, Inc. Cover design by Hanae Mori Overseers Emeriti Mrs. Weston W. Mrs. Richard D. Hill Mrs. Stephen V.C. Angelica L. Russell

Adams Susan M. Hilles ' Morris Francis P. Sears, Jr. Bruce A. Beal GlenH. Hiner Mrs. Thomas Spurr W. Davies Sohier, Jr. Mary Louise Cabot H. Eugene Jones Morse , Ralph 2. Sorenson

Johns H. Congdon Mrs. Louis I., Kane David R. Pokross Mrs. Edward S. Phyllis Curtin Leonard Kaplan „ Daphne Brooks Stimpson Peter H.B. Robert K. Kraft Prout Mrs. Arthur L. Frelinghuysen Benjamin H. Lacy Mrs. Peter van S. Rice Strang f Mrs. Thomas J. Mrs. James F. Mrs. Jerome MarkTishler, Jr. > Galligan Lawrence Rosenfeld Luise Vosgerchian Mrs. Haskell R. C. Charles Marran Mrs. William C. Mrs. Donald B. Gordon Hanae Mori Rousseau Wilson

Business Leadership Association Board of Directors Harvey Chet Krentzman, Chairman Emeritus William F. Connell, President James F. Cleary, Chairman William L. Boyan, Vice-President Nader F. Darehshori William F. Meagher Patrick J . Purcell Ray Stata Francis A. Doyle > Robert J. Murray William D. Roddy Stephen s J. Sweeney John P. Hamill Robert P. O'Block Malcolm L. Sherman William C. Van Faasen Emeriti Leo L. Beranek- Nelson J. Darling Ex-Officio J. P. Barger • George H. Kidder

Officers of the Boston Symphony Association of Volunteers Carol Scheifele-Holmes, President Patricia L. Tambone, Treasurer Eva Zervos, Executive Vice-President Hannah C. Campbell, Secretary

Vice-Presidents

Krista K. Baldini, Fundraising Una H. Fleischmann, Patricia Newton, Pamela N. Czekanski, Membership Public Relations Fundraising Joseph K. Handler, Seth Nichols, Elizabeth B. Eaton, Tanglewood Association Resources Development Nominating Phyllis S. Hubbard, Carole G. Siegel, Linda W. Fenton, Hall Services Tanglewood Association Development DebraA. Korb, Christine J. Watson, Adult Education Youth Activities

The Boston Symphony Orchestra and the Tanglewood Music Center are funded in part by the National Endowment for the Arts, and by the Massachusetts Cultural Council, a state agency. Administration

Kenneth Haas, Managing Director Daniel R. Gustin, Assistant Managing Director and Manager of Tanglewood

Michael G. McDonough, Director of Finance and Business Affairs Caroline Smedvig, Director of Public Relations and Marketing

Josiah Stevenson, Director of Development , Ray F. Wellbaum, Orchestra Manager

ADMINISTRATIVE STAFF/ARTISTIC

Dennis" Alves, Program Coordinator, Boston Pops * Cynthia Curme, Executive Assistant to the

Tanglewood Manager * Faith Hunter, Executive Assistant to the Managing Director * Karen Leopardi, Artist Assistant/Secretary to the Music Director -Vincenzo Natale, Chauffeur/Valet* Emily Raymer, Administrative Assistant, Management Office ADMINISTRATIVE STAFF/PRODUCTION T)iane A. Read, Acting Production Manager Scott Schillin, Assistant Manager, Boston Pops and Youth Activities

Nancy Cohen, Auditions Coordinator/Administrative Assistant, Orchestra Personnel* Virginia Hecker, Chorus Manager/ TMC Vocal Activities Coordinator* Christopher W. Ruigomez, Production Coordinator

BOX OFFICE

Russell M. Hodsdon, Manager of Box Office

Mary J. Broussard, Clerk * Cary Eyges, Clerk * Lawrence Fraher, Clerk * Kathleen Kennedy, Assistant Manager of Box Office • Roland Pridham, Clerk BUSINESS OFFICE

Sarah J. Harrington, Budget Manager ^ Craig R. Kaplan, Controller \ Julie Miner White, Manager of Fund Reporting

Michelle Green, Executive Assistant to the Director of Finance and Business Affairs * Ian Kane, Financial Analyst 'Roberta Kennedy, Manager, Symphony Shop*] ohn O'Callaghan, Payroll

Accountant * Robert Reidy, Budget Analyst * Sharon Sherman, Accounts Payable Supervisor *

Heather Spence, Cash Accountant * Shawn Wilder, Mailroom Clerk

DEVELOPMENT Deborah Bennett, Director of Corporate Development Daniel P. Breen, Director of Boston Symphony Annual Fund Madelyne Cuddeback, Director of Corporate Sponsorships John C. Marksbury, Director ofFoundation and Government Support Joyce M. Serwitz, Associate Director of Development/ Director of Major Gifts

Robin J. Yorks, Director of Tanglewood Development

Julie Beck, Assistant Director, Corporate Development * Hilary B. Cohen, Assistant Director,

Boston Symphony Annual Fund * Sally Dale, Administrative Secretary, Major Gifts * Sarah Fitzgerald, Data Coordinator * Deborah Hersey, Coordinator of Development Information Systems * Shelley Kooris, Researcher * Pauline McCance, Executive Assistant to the Director of Development & Overseer Liaison -Jeffrey D. Phillips, Administrative Secretary, Corporate

Development * Floyd Richardson, Data Production Assistant * Rebecca A. Robinson, Administra- tive Secretary, Boston Symphony Annual FundKBrian Van Sickle, Administrative Secretary,

Tanglewood Development * Katharine Wilkens, Assistant Director, Major Gifts EDUCATIONAL ACTIVITIES/ARCHIVES Richard Ortner, Administrator of the Tanglewood Music Center

Myran Parker-Brass, Coordinator of Youth Activities , James E. Whitaker, Chief Coordinator, Tanglewood Music Center

Bridget P. Cnrr,,Archivist ; < Barbara Logue, Administrative Assistant, Tanglewood Music Center FUNCTIONSOFFICE

Cheryl L. Silvia, Function Manager

Elizabeth Anne Francey, Assistant to the Function Manager/ Tanglewood Function

Coordinator • Lesley Ann Ploof, Assistant Function Manager

- INFORMATION SYSTEMS MANAGEMENT . > - Robert Bell, Manager of Information Systems

• Michael Pijoan, Assistant Manager James Major, Coordinator of Information Systems of .

Information Systems < PUBLIC RELATIONS

Bernadette M. Horgan, Public Relations Coordinator . . < , Susanna Bonta, Administrative Assistant to the Director of Public Relations and Marketing • Andrea Palmieri, Public Relations Assistant • Amy L. Van Sickle, Secretary

PUBLICATIONS ' Steven Ledbetter, Musicologist & Program Annotator Marc Mandel, Publications Coordinator Eleanor Hayes McGourty, Publications Assistant SALES, SUBSCRIPTION, AND MARKETING Nancy A. Kay, Director of Sales & Marketing Manager Kathleen W. Bennett, Assistant Marketing Manager 'Helen N.H. Brady, Group Sales Manager*

Rebecca R. Crawford, Marketing Coordinator • Roger Edwards, SymphonyCharge Assistant •

Ashley Gaudet, Subscription Representative • Carol Ann Mason, Subscription Manager * Michael

Miller, SymphonyCharge Manager • James O'Connor, Group Sales Assistant 'Brian Robinson, Senior Subscription Representative STAFF PERSONNEL Patricia Forbes Halligan, Director of Personnel Services

Anna Asphar, Coordinator of Personnel Services • Michael Finlan, Switchboard Supervisor SYMPHONY HALL OPERATIONS

Robert L. Gleason, Facilities Manager TANGLEWOOD OPERATIONS

James J. Mooney, Facilities Manager

Ronald T. Brouker, Coordinator of Audience Services • David P. Sturma, Coordinator of Audience Services • George Tower, Head Carpenter

Buildings and Grounds Crew Robert Casey -William T. Lahart, Jr., Electrician • Keith

McClellan * Scott Tenney

Glass House Jeanne Massimiano, Manager • Leslie Arment, Assistant Manager VOLUNTEER OFFICE Margaret Hillyard-Lazenby, Director of Volunteers

Jenn Dean, Associate Director of Volunteers • Sarah Leaf-Herrmann, Projects Coordinator/ Administrative Assistant SEIJI OZAWA HALL TANGIEWOOO

Opening Gala Honorary Committee

Claudio Abbado Senator and Mrs. George Perle Mrs. Maurice Abravanel Edward M. Kennedy Itzhak Perlman

Emanuel Ax Joan Bennett Kennedy Thomas D. Perry, Jr. J. P. Barger Senator John F. Kerry Andre Previn Tony Bennett George H. Kidder Leontyne Price Luciano Berio Leon Kirchner Simon Rattle Alexander Bernstein Oliver Knussen Robert Redford

Jamie Bernstein The Kresge Foundation David Rockefeller, Jr. Nina Bernstein George and Liz Krupp Mstislav Rostropovich Sarah Caldwell Gary Lakes Hannah H. Schneider Maria Cole Peter Lieberson Michael P. Schulhof Phyllis Curtin Yo-Yo Ma Gunther Schuller Mario Davidovsky Lorin Maazel Dr. Tadahiro Sekimoto Hugh and Ruth Downs Wynton Marsalis Peter Serkin Jacob Druckman John Mauceri Gene Shalit Charles Dutoit Bobby McFerrin Joseph Silverstein Jane and Fitzpatrick Zubin Mehta Steven Spielberg Jack „ Peter M. Flanigan Nancy and Sherrill Isaac Stern Leon Fleisher Milnes Cheryl Studer

Lukas Foss Ambassador and Mrs. Sanford Sylvan _ Dean Freed Walter F. Mondale Michael Tilson Thomas Gordon Getty Hanae Mori Dawn Upshaw John Harbison Paul Newman Shirley Verrett Kitty Carlisle Hart Kenjiro Nitta Andre Watts Hans Werner Henze Jessye Norman John Williams Billy Joel Roger Norrington Joanne Woodward Gilbert Kalish Norio Ohga John Young Dr. Hisashi Kaneko Andrall E. Pearson Dr. Nicholas T. Zervas

Chairman, Opening Week Celebration Hannah H. Schneider •' Acknowledgments

Gala Opening Concert sponsored by NEC

an

The Boston Symphony Orchestra gratefully acknowledges NEC's generous sponsorship of tonight's concert, and also extends its gratitude to the following for their generous contributions:

Hanae Mori Seiko Epson Corporation Sony Classical Barry Wine

DD DD

With thanks also to the

Boston Symphony Association of Volunteers at Tanglewood, and to the staff and crew of the Boston Symphony Orchestra.

V /

1 The Berkshire Arts Alliance and the Berkshire Visitors Bureau congratulate the Boston Symphony Orchestra on the opening of Seiji Ozawa Hall at Tanglewood and wish the BSO continued success in providing rewarding musical experiences for visitors and Berkshire residents,

Berkshire Arts Alliance Members

Armstrong Chamber Concerts Jacob's Pillow Dance Festival Aston Magna Festival Mac-Haydn Theatre Becket Arts Center Massachusetts Audubon Society/

Berkshire Albany Ballet ' Pleasant Valley and Canoe Berkshire Artisans/ Meadows Wildlife Sanctuaries Lichtenstein Center for the Arts Merwin House Berkshire Botanical Garden Miniature Theatre of Chester Berkshire Choral Society Music Theatre Group Melville's Arrowhead /Berkshire National Music Center County Historical Society Naumkeag/Mission House Berkshire Opera (Trustees of Reservations) The Berkshire Museum Norman Rockwell Museum Berkshire Scenic Railway at Stockbridge Museum North Adams State College

Berkshire Theatre Festival Shakespeare & Company . The Bidwell House South Mountain Concerts Chesterwood Sterling and Francine Clark DeSisto Productions Art Institute Edith Wharton Restoration/ Theatre Barn The Mount- Williams College Museum of Art Hancock Shaker Village Williamstown Theatre Festival

i x. Wood, Brick, Nature, and Music

by Richard Dyer

Idealists build concert halls for practical reasons. The new Seiji Ozawa Hall at Tanglewood opens tonight. Tanglewood needed a new building because of the limitations of the old Theatre-Concert Hall, because the students of the Tanglewood Music Center deserved a showcase, because the Boston Symphony needed a recording venue in the Berkshires, and because the chamber music Prelude Concerts evaporate in the vast spaces of the Koussevitzky Music Shed. In 1900 Symphony Hall was built because the Boston Symphony Orchestra, founded in 1881, was already a major cultural institution and neededa home worthy of the artistic standards it had reached. Throughout its history the orches- tra had played in the Boston Music Hall, now the site of the Orpheum Theater, a decaying downtown rock-palace. The installation of the great organ—now in its own building in Metheuen—had altered the acoustics of the Music Hall, and many felt the arrival of the subway system would surely ruin the sound permanently. There were also concerns about public safety in the fifty-year-old building. In 1938, the Berkshire Symphonic Festival built the Shed at Tanglewood for the summer use of the Boston Symphony Orchestra. The reason it was built was a famous storm on the night of August 12, 1937. Serge Koussevitzky was conduct- ing an all-Wagner program. The thunder drowned out even the Rienzi Overture, and the tent the orchestra was playing under started leaking. Afterwards ladies carried their evening shoes in their hands, hiked up their gowns, and waded through the mud in the parking lots; bulldozers had to pull the cars out of the mire. Miss Gertrude Robinson Snlith, founder of the Festival, took to the plat- form. "This storm has proved conclusively the need for a shed. We must raise the $100,000 to build it." $30,000 was reportedly pledged on the spot. Just four summers later, in 1941, the Berkshire Music Center opened the last major structure built for the activities of the Boston Symphony Orchestra until now, the Theatre-Concert Half. Designed by Eliel and Eero Saarinen and con- structed for $40,000, it was intended as the home for the Berkshire Music Center Orchestra and for the BMC's opera department. Symphony Hall had been built purely as a concert room over the strenuous objections of those who felt that what the city required was a multi-purpose build- ing suitable both for orchestral programs and opera. Boston Symphony founder Henry Lee Higginson and his architectural and acoustical team felt that such struc- tures were always compromised because the conditions required for a good opera house and for a good orchestral hall are incompatible. Those who performed opera in the old Theatre-Concert Hall at Tanglewood remember it with great fondness. Certainly it became a cultural landmark because the American premieres of works as diverse as Mozart's La clemenza di Tito and Benjamin Britten's Peter Grimes took place there. After Boris Goldovsky left Tanglewood in 1961 and the great opera-training program he had created faded away, BSO Music Director Erich Leinsdorf filled in the pit and removed the stage rigging without creating a concert room that was acoustically flattering to the orchestra or physically comfortable for the audience; the. potential audience was also limited by the seating capacity of the hall, because sightlines from the lawn Domaine Chandon Napa Valley Sparkling Wine

toasts The Boston Symphony on the opening of Seiji OzawaHall

May the Music and the Wine add Sparkle to your Life!

CHANDONKM " " "

were poor. The need for a new concert hall has been evident for at least thirty years, but the history of the old Theatre-Concert Hall may not be over yet; Seiji Ozawa has expressed the strong hope that the building can be restored to its origi- nal operatic purpose, i

Symphony Hall is now renowned throughout the world as the most beautiful concert hall in America and the one with the finest acoustics. Curiously enough press accounts of the opening night hardly refer to these characteristics at all; there is more about temperature and ventilation in the hall than about acoustics—the critics, as usual, were hedging their bets. The eminent composer John Knowjes

( Paine, founder of the music department at Harvard University, complained of the draft, and another concertgoer remarked, "The ventilation of this hall cost

$75,000 and $60,000 worth of it came down right on my head!" AH the newspap- ers included lengthy lists of the names of prominent citizens who were in atten- dance, and a mathematician at one of the papers computed that Mrs. Jack Gardner who had bought her balcony pair of subscription tickets at auction was paying $47.66 2/3 for each concert. On the other hand, a visitor from Baltimore favorably noted the institution of 250 rush seats. One journalist sounded a fatalistic note.

"We Bostonians are wedded to [Symphony Hall], for better or for worse, till death do us part; it will surely outlast most of those who listened to music in it last evening." Symphony Hall opened with a ceremonious program of music suitable for a solemn event— a Bach chorale, and Beethoven's Missa Solemnis, which was receiv- ing its second Boston performance. The writer Owen Wister, author of the popu- lar novel "The Virginian," read a commemorative ode he had composed for the occasion; one space stood silent in the circle of the arts, he wrote, "Until at length Cremona raised a magic wand. Wister, perhaps, represented idealism. The orchestra's founder, Henry Lee Higginson, kept to the practicalities, thanking the architect, the acoustician, the contractor, and the donor-directors who had raised the "slender purse" for the building. "Our capital is $500,000, of which $410,700 has been subscribed, and, as this sum was far too small, the directors have borrowed the remaining cost, which is about $350,000, making the total cost rising $750,000. They mortgaged the hall with reluctance, but had no other course as the money was essential. Higginson promised for ten years to assume the costs of administering the orches- tra and the building, but at the end of his remarks turned prophetically to the public which would sustain the orchestra into the future. "Whether this hall can ever give so much joy to our people as the old Music Hall, no one can tell. Much depends on the public, which has always been loyal and staunch to the orches- tra..." In his review of the opening night, the eminent critic Philip Hale saluted Hig- ginson by mentioning that "In the 18th century princes of Europe maintained orchestras for their own pleasure ... it was reserved for Mr. Henry L. Higginson, a citizen of Boston, to see to it that the people of his town might have an opportu- nity of hearing at a reasonable price the best music performed by the best orchestra that money and experience could bring together and establish. In later years Serge Koussevitzky carried forward both Higginson's idealism and practicality. Higginson had foreseen a school; Koussevitzky was to create a great one. Higginson wanted an orchestra for the people; Koussevitzky 's vision for Tanglewood made it the first populist summer music festival in America. The "

Shed became its visual symbol, open on all sides both to nature and to the widest possible public. Symphony Hall represented a scaled-back ideal, and so did the Tanglewood Shed. Eliel Saarinen's architectural plan for Tanglewood called for studios, lecture halls, a library, and a Greek amphitheater, and the cost would have come to $232,000. Miss Robinson Smith told him to cut his pkn back to something that would cost $125,000, and-the peeved architect wrote, "Of course, a solution could have been easily had by erecting just a shed without any consideration as to good proportions, good architectural qualities and a proper fitting into the landscape. And as any builder could accomplish this, why then, hire an architect?" The Trustees bought the plans, and a builder from Stockbridge, Joseph Franz, simplified them into "just a shed" which carries its dismissive appellation with pride to this day: the Koussevitzky Music Shed. The opening again brought Bach and Beethoven, this time the opening chorus and chorale from Bach's cantata

"Ein' feste Burg ist unser Gott" and Beethoven's Ninth Symphony with four American soloists.. Gertrude Robinson Smith—commented on the need for money for immediate plans unrealized to this day "covering steel pillars with fluted columns" and

"installing iron roll curtains for the sides of the shed. " The president of the Boston

Symphony Orchestra's Board, Bentley W. Warren, spoke of Koussevitzky 's deter- mination to found a school "devoted to the cultivation of the highest standards in the work of orchestral conductors, choral leaders and separate instrumentalists. Koussevitzky himself unexpectedly spoke, holding forth the hope that Beetho- ven's Symphony and Schjller's "Ode to Joy" would "call all nations to brother- hood."

Two years later Koussevitzky 's school was in place, and a young Leonard Bern- stein was in the first class; the second summer of the school, 1941, brought the

A Musical Partnership

The Boston Symphony Orchestra salutes the Baldwin Piano Company, which has provided pianos for young musicians and professional artists at Tanglewood fop more than a half-century.

TanglewdDd

Music - Center opening of the Theatre-Concert Hall. The new building opened officially on July 13 with an all-Mozart program— Koussevitzky conducted the Berkshire Music Center Orchestra in Mozart's Eine kleine Nachtmusik and the G minor sym- phony, K.550, and student singers performed scenes from The Magic Flute, Don Giovanni, and The Abduction from the Seraglio staged by Herbert Graf and Boris " Goldovsky, in settings devised by Richard Rychtarik. » ._ A few days earlier, on July 6, the opening exercises of the second season of the Berkshire Music Center had taken place in the Theatre-Concert Hall. The first music heard in the building was Randall Thompson's choral "Alleluia"— the piece had been composed especially for the opening of the school the year before, and it

has been sung to open its activities every summer since. The Tanglewood Festival

Chorus, and the audience assembled in Ozawa Hall, will sing it tonight. Kousse- vitzky spoke from his non-elitist perspective, calling for "new methods of work" which would, he believed, "increase the participation of the masses which influ-

ences the course of culture and the very process of its development. " And there was unspecified music performed by the violinist Ruth Posselt, the singer Mary Van Kirk, and the pianist Jesus Maria Sanroma.

* . Koussevitzky 's speech at the official opening of the Theatre-Concert Hall rever- berates today. "We are not adding just another playhouse to existing ones. But we are building a great LABORATORY where we will work out new problems con- y nected with opera-dramatic art . . . The art of opera long waits to be renovated. But, courage, energy and creative power are needed to halt its decline and to re-

store it to new life. The resources of the country are great, and will give us new singers, new producers, and new creators. One needs only to clear the way for them."

Seiji Ozawa Hall shares characteristics with its predecessors, Symphony Hall,

the Koussevitzky Music Shed, the Theatre-Concert Hall, because it was built in response to similar convictions — convictions about the importance of musical

art, about how it ought to be accessible to the widest possible public, about how the future lies in the hands, energies, and imaginations of the young.

Today Koussevitzky 's analogy between a concert hall and a laboratory seems

startling. Many do not share Koussevitzky 's faith in science, questioning it in- stead, and place their trust in the validity and power of artistic expression. We also N know that in our age of technology, many people distrust the arts and deny their relevance; the arts are again imperiled. Seiji Ozawa Hall will outlast the audience

that assembles to welcome its opening tonight, but it will not outlast this debate.

What this place can do is make a permanent contribution to the debate and to the lives of generations of musicians and music-lovers, just as Symphony Hall and the

Tanglewood Shed already have. To do so, it will indeed need to be a laboratory, a place where idealistic musicians can work, experiment, and learn in common | cause with an adventurous public, not the isolation of an ivory tower, but in a music-room fashioned of practical wood and brick, opening onto nature, sky, trees, and a lawn crowded with humanity.

Richard Dyer is the music critic of The Boston Globe. Reprinted by permission of The Boston

Globe; a somewhat different version of this article appeared in The Boston Sunday Globe of » July 3, 1994. Congratulations Maestro Ozawa

May you and the distinguished

musicians and artists

who perform here

bring joyous delight

to all who come to listen.

4 We are honored to sponsor this

Gala Inaugural Concert in

TANGIEWOOO " ^

Gala Opening Concert SEIJI OZAWA HALL FLORENCE GOULD AUDITORIUM

Thursday, July 7, 1994, at 6 p.m. SPONSORED BY NEC BOSTON SYMPHONY ORCHESTRA TANGLEWOOD MUSIC CENTER ORCHESTRA

. SEIJI OZAWA, LEON FLEISHER, 1 JOHN WILLIAMS, and NORIO OHGA, conductors

YO-YO MA, cello SHERRILL MILNES, baritone PETER SERKIN, piano

TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

Pre-Concert Fanfares OLIVER KNUSSEN "Opening Signal" (world premiere; commissioned by the Boston Symphony Orchestra) JOHN WILLIAMS "Aloft ... to the Royal Masthead!" AARON COPLAND Fanfare for the Common Man Members of the Tanglewood Music Center Fellowship Program ~7 Roger Voisin- conducting

J.S.BACH "Vom Himmel hoch" and "Magnificat" from Magnificat in D, BWV 243

Seiji Ozawa conducting Boston Symphony Orchestra Tanglewood Festival Chorus, John Oliver, conductor

AARON COPLAND Orchestral Variations

Leon Fleisher conducting Tanglewood Music Center Orchestra

I JOHN WILLIAMS Concerto for Cello arid Orchestra (world premiere; commissioned by the Boston Symphony Orchestra)

Theme and Cadenza Blues Scherzo Romance (played without pause)

Yo-Yo Ma, cello John Williams conducting y Boston Symphony Orchestra DD DD

INTERMISSION

Audience members seated in Ozawa Hall are invited to enjoy sparkling wine courtesy of Chan don, Napa Valley and hors d'oeuvres during the intermission. DD DD

FRANZ VON SUPPE Overture to the play

"Morning, Noon, and Night in Vienna' JOSEF STRAUSS "Music,of the Spheres," Opus 235

Norio Ohga conducting Boston Symphony Orchestra DDa

LEONARD BERNSTEIN Opening Prayer

Sherrill Milnes, baritone

Seiji Ozawa conducting Boston Symphony Orchestra Tanglewood Music Center Orchestra

/ LUDWIG VAN BEETHOVEN Fantasia in C minor for piano, chorus, and orchestra, Opus 80

Peter Serkin, piano

Members of the Tanglewood Music Center Vocal Program Margery Hellmold', soprano Robert Eich, tenor Helena Rasker, mezzo-soprano David Ossenfort, tenor Julia Oesch, mezzo-soprano David Dillard, bass

Seiji Ozawa conducting , Boston Symphony Orchestra Tanglewood Music Center Orchestra Tanglewood Festival Chorus, John Oliver, conductor

RANDALL THOMPSON Alleluia

Seiji Ozawa conducting Tanglewood Festival Chorus, John Oliver, conductor

Seiji Ozawa cordially invites the audience to pin in the singing of Randall Thompson's "Alleluia," which has initiated the Tanglewood Music Center's summer activities since it

was composed for that purpose in 1940. \

DD

Fireworks following the post-concert dinner courtesy of Seiko Epson Corporation

Baldwin piano Peter Serkin plays the Steinway piano.

"Opening Signal" by Oliver Knussen, who was Head of Contemporary Music Activities at the Tanglewood Music Center from 1987 to 1993, was commissioned through the Boston Symphony Orchestra's New Works Fund, made possible with support from the Massachusetts Cultural Council.

John Williams's Concerto for Cello and Orchestra wascommissioned through the Boston Symphony Orchestra's New Works Fund, rrkde possible with support from the Massachusetts Cultural Council,

• and by the Arthur P. Contas Commissioning Fund. • *•

Sony Classical

Joins In Celebrating

The Opening Of

/ O • • • Seiji Ozawa Hall

At Tanglewood

© 1994 Sony Classical GmbH. Notes

On two previous occasions in Tanglewood history, special concerts have been held to inaugurate a new concert facility—the opening of the Shed in 1938 (reded- icated as the Koussevitzky Music Shed in 1988) and the opening of the Theatre- Concert Hall in 1941. Tonight, with the opening of Seiji Ozawa Hall, the first full-scale performance facility to be built at Tanglewood in more than a half-cen- tury, the program is filled with echoes of Tanglewood past— of works that have been featured in those earlier concerts, of composers and performers who have been connected with Tanglewood in important ways over the years —and antici- pates the future with a world premiere.

DD

A half-century ago, the music of J.S. Bach was second only to Beethoven's in its place in the general repertory. Serge Koussevitzky chose a work by Bach to highlight a special moment in the history'of Tanglewood, beginning the very first Shed concert with the opening chorus and final chorale from the Cantata No. 80, " "Ein' feste Burg ist unser Gott. Bach originally composed the MAGNIFICAT in 1723 for the Christmas season in

Leipzig. The text {Luke 1 :46-55, Mary's song of rejoicing) has been sung in Chris- tian churches as part of the Vesper service for many centuries. In the first version of the work, Bach added four German chorales to the traditional Latin text to make the work specifically relevant to Christmas. The first of these is "Vom Him- mel hoch," both text and tune of which are'by Martin Luther himself; Bach re- turned to the tune time and again, both for festive expressions of Christmas joy and for demonstrations of contrapuntal ingenuity. The chorale setting treats the tune line by line in polyphonic paraphrase. The opening movement of the Mag- nificat proper captures with great energy the overwhelming joy of Mary's song.

Vom Himmel hoch da komm' ich her, From heaven on high I come here,

Ich bring' euch gute neue Mar. I bring you good new tidings.

Der guten Mar bring' ich so viel, Good tidings I bring in such abundance,

davon ich singen und sagen will. Of which I want to sing and speak.

Magnificat anima mea Dominum. My soul doth magnify the Lord.

an DD

Aaron Copland was the first American composer that Serge Koussevitzky came to know and admire. The conductor was principally responsible for the establish- ment of Copland's career in the years after his return from studies in Paris with Nadia Boulanger (who had introduced them). Copland generously brought to

Koussevitzky 's attention works of young American composers that he felt de- served performance. Koussevitzky appreciated this selfless attitude on Copland's part and came to trust him implicitly. When Koussevitzky fulfilled atTanglewood his long-held dream of establishing a school for advanced musical training, he discussed all of his plans with Copland from the beginning and named the com-' poser head of the faculty, a position he held for nearly a quarter-century.

John Williams Concerto for Cello and Orchestra

In performance, the effusion of Yo-Yo Ma's warm and vibrant personality,

is so conjoined with his musicianship that a uniquely powerful communica-

tion is created for the lrstener. From the moment I first heard him play I as- pired to write something that might express the exuberance, virtuosity, and especially the lyrical expression that are the essence of this remarkable man.

The impetus, or if you like, inspiration, for this concerto has clearly been Yo-Yo Ma himself.

The piece is in four movements played without a pause, and I suppose that

since it is about "feelings," or the attempt to be in touch with these elusive

things, that it must be described as romantic in nature if not always in style.

The first movement I've simply called "Theme and Cadenza. " Here I've tried to write music that might develop the ebullience that the cello can ex-

press so well. The principal theme constantly reaches upward as it climbs,

jumps, and leaps from its opening low E set against a modal E minor (Elgar's key). It then provides the framework for passage-work and forms the basis for an extended cadenza. The orchestra provides a warm "humming" accom-

paniment and has a moment or two of its own in which to exult.

A kind of blues monologue follows wherein the cello is set more alone and apart from the orchestra by a percussion group which sends harmonies remi- niscent of the jazz era wafting across our memory. The cello then takes us

spinning ihto a scherzo ... all speed, virtuosity, and daredevil play. The fun

is punctuated by "fermati" where the orchestra calls periodic halts to the proceedings, only to have the cello repeatedly burst free to continue the chase.

The finale (Romance) closes the concerto. It seemed appropriate to me that

the most lyrical movement should come last because it could present the cello

in its most natural and wondrous role . . . that of singer of song. Throughout

its enormous range this miracle of imagination and the carpenter's art has the capacity to perform expressively in the vocal style like no other instrument we've been blessed with.

I only hope that my efforts are worthy of this great soloist and our magnifi-

cent Boston Symphony Orchestra. I feel privileged to be able to present this piece on the momentous occasion of the opening and dedication of Ozawa

Hall. /

John Williams , — s The ORCHESTRAL VARIATIONS came about as the result of a commission from the Louisville Orchestra, which had repeatedly tried to get a new work from Cop- land after starting its imaginative series of orchestral commissions in 1948. In 1957

Copland responded to the orchestra's latest expression of interest with a sugges- .

v tion that he fulfill a project he had long had in mind: "I have for a long time wanted to make an orchestral version of my Piano Variations. This is an eleven- minute work that dates from 1930, and is generally considered to be among my most serious compositional efforts. " The Piano Variations is, in fact, one of the seminal contributions to the literature of the piano. It is a spacious, craggy work, generally treating the piano percussively and emphasizing dry sonorities rather than sensuous effects. Copland made very few changes in the actual substance of the music, but his orchestral version ends up soundingjike quite a different work, and introduces the symphony-goer to one of the most significant American com- positions of our century.

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John Williams led the Boston Pops Orchestra for the first time as a guest con- ductor best-known for the thrilling score to Star Wars, A few years later he was the surprise candidate named to succeed Arthur Fiedler, one of the grand institu- tions of American music, as Conductor of the Pops. During the thirteen years of his formal leadership of the orchestra— plus this, his first year as Laureate Con- ductor—John Williams has gone from strength to strength in the world of film music, with numerous Academy Award nominations and several prizes. He has led the Boston Pops in a wide-ranging series of tours, including the orchestra's first to Japan, with great success. And he has continued to compose for the con- cert hall. Indeed, one of the reasons he retired as conductor of the Pops following the 1993 season was to allow himself more time for composition of music other than film scores. The new CONCERTO FOR CELLQ AND ORCHESTRA, which has its premiere tonight, is one of the first fruits of that decision. It is fitting for this pre- miere to take place at Tanglewood under these festive circumstances because both the composer and Yo-Yo Ma, for whom-the piece was written, have played in- creasingly important roles here in the last decade and will continue to be an impor- tant part of the Tartglewood family for years to come. (John Williams's own com- ments on his new concerto are printed on the opposite page.) DD v

Franz von Suppe composed music that we all know, even if we can't put a name to it. Many of his overtures were rifled for use by arrangers of music for the silent films, and they showed up long after in the soundtracks of animated cartoons. Suppe was active all his life in the light musical theater. By the age of twenty-one, he had already found his metier. For the next fifty-five years he turned out an astonishing stream of works, nearly 250 scores for plays, farces, and operettas.

Morning, Noon, and Night in Vienna is one of eight short-lived plays for which Suppe wrote music in 1844; the play is long gone, but the overture remains popular. It shows early on the composer's love of the solo cello; for the most part it is built of vigorous march and galop themes. " — UN

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Josef Strauss, two years younger than his more famous brother Johann, shared with him theleadership of the Strauss orchestra. Johann was cheerful and extro- verted; Josef was the very opposite, seen by the Viennese as highly "romantic." His early death, at the age of forty-three, deprived the world of a musician who might well have outranked his brother had he lived longer. Josef's music is often tinged with the influence of Schubert, Chopin, and even the "moderns" Berlioz,

Liszt, and Wagner, yet it remains thoroughly dancelike. Music OF THE SPHERES

' (its Germamtitle is "Spbdrenkldnge"), from 1868, two years before his death, is one of his finest creations. These works will be conducted tonight by Norio Ohga, President andtChief Executive Officer of Sony Corporation, who has made a lasting contribution to Tanglewood by donating the naming gift for Seiji Ozawa Hall as a personal con-

Choral Fantasy, Opus 80

Schmeichelnd hold und lieblich klingen Radiant chords of music's splendor,

unsers Lebens Harmonien. echoing life's most joyous tune^ Und dem Schonheitssinn entschwingen Like the growth of springtime flowers,

' Blumen sich, die ewig bliihn. lifts our hearts' eternal bloom.

Fried' und Freude gleiten ffeundlich Peace and joy in soothing union, wie der Wellen Wechselspiel; like the ocean's billowing spray Was sich drangte rauh und feindlich, What had earlier seemed unfriendly, ordnet sich zu Hochgefiihl. now unites in peaceful play.

Wenn der Tone Zauber waken When the strength of music's magic und des Wortes Weihe spricht, joins the word's consuming might,

Muss sich Herrliches gestalten, What springs forth is all-embracing, Nacht und Sturme werden Licht. turning dark and storm to light.

Auss're Ruhe, inn're Wonne Outer stillness, inner rapture, herrschen fur den Glucklichen. for the fortunate prevail. Doch der Kiinste Friihlingssonne Yet the arts, like springtime sunshine, lasst aus beiden Licht entstehn. bring forth light throughout the world.

Grosses, das in's Herz gedrungen When the heart's enraptured goodness bluht dann neu und schon empor. blooms forth new and fair again, Hat ein Geist sich aufgeschwungen, Then this spirit reaches skyward, hall't ihm stets ein Geisterchor. with a heavenly "Amen.

Nehmt denn hin, ihr schonen Seelen, Take these gifts of art, kind spirits: froh die Gaben schoner Kunst. there's no greater gift you'll find; Wenn sich Lieb und Kraft vermahlen, For when love and strength are wedded, lohnt dem Menschen Gotter-Gunst. Heaven praises Humankind.

— Christian Kuffner —English version by Marc Mandel copyright ©1994 tribution. Mr. Ohga not only trained originally as a musician, but interrupted a flourishing singing career to pursue his activities with Sony Corporation.

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No former Tanglewood student has had so signal an influence on the place as Leonard Bernstein, who arrived here in 1940 as a member of the very first class of what was then called the Berkshire Music Center and who returned— as student, assistant to Serge Koussevitzky, conductor, composer, and teacher—virtually -every summer for the remainder of his life. As America's musical icon, Bernstein regularly focussed the attention of the artistic world on this place, not least when he decided that he wished to celebrate his seventieth birthday here; the resuft was Four days of astonishing events, some of which were carried by live television to

Europe. And it was at two Tanglewood concerts in August 1990—with the Tangle-r wood Music Center Orchestra and the Boston Symphony Orchestra— that Bern- stein conducted for the last time, appropriately ending his career at the place

where, for all practical purposes, it had begun. Bernstein's OPENING PRAYER for baritone and orchestra was originally com-

posed for the re-opening of Cafnegie Hall in December 1986. The text is a familiar benediction from the Bible (Numbers 6:24-26) sung in Hebrew. Following the premiere in Carnegie Hall, Bernstein decided to add the piece as a middle move- ment to his Jubilee Games, written for the fiftieth anniversary of the Israel Philharmonic, which had given the premiere of the original version* in two move-

ments, in September 1986. In that context, Opening Prayer is called Benediction,

but it retains its independence as a separate piece under the original title.

The Lord bless thee, and keep thee: The Lord make his face shine upon thee, and be gracious unto thee:

The Lord lift up his countenance upon thee, and give thee peace.

Beethoven composed his Fantasia IN C Minor FOR Piano, Chorus, AND ORCHESTRA (more familiarly known as the "Choral Fantasy") in December 1808 to serve as the festive finale to a long and varied concert of his music that included an orchestra, a piano soloist (Beethoven himself), vocal soloists, and a chorus. He found a bold and original shape for this work, beginning with a lengthy, impro- visatory introduction for solo piano, then gradually introducing the orchestra (with whom the pianist shares a set of variations), the vocal soloists (who put celebratory words to the tune), and chorus (who build the energy level to the highest pitch of celebration). Though often described as a dry run for the finale of

the Ninth Symphony, the Choral Fantasy is lively and colorful in its own right,

not just naively cheerful, but celebrating the power of art in human life. As such it

was a favorite work of Rudolf Serkin,, who performed it numerous times with the

Boston Symphony Orchestra between 1959 and 1984 (he also recorded it with the BSO, in 1982). His son Peter Serkin, a frequent soloist with the BSO since 1970 and a TMC faculty member since 1985, has also,been drawn to the piece, having performed it with the BSO at Tanglewood as early as 1972, and in Boston and. New York in 1990. a

When the first class of students gathered for the opening session of the Berk- shire Music Center in 1940, Serge Koussevitzy inspired them with high-minded words on the importance of the arts to humanity, particularly in times of danger and difficulty (no one present could forget that'war had been raging in Europe for nearly a year). Koussevitzky wanted to have an object lesson in the form of a new composition in which everyone present could take part. To that end, he commis- sioned Randall Thompson to compose a choral work that would serve as the finale to the opening exercises the first summer. Through some hitch at the printers, the music almost failed to arrive; when it showed up in Lenox, less than an hour be- fore the ceremony was to begin, there was barely time for a sight-reading. But

Thompson's ALLELUIA made such a powerful effect that it went on to become the most-often-sung work of American choral music. It has become traditionally the first music performed by the Fellows of the Music Center—whether singers, in- strumentalists, conductors, or composers— atTanglewood every year. — Steven Ledbetter

The first page of Randall Thompson's "Alleluia," as reproduced from the original manuscript. When he pre- sented the manuscript to the TMC Library in 1941 the composer wrote: "For the Berkshire Music Center

Library, and, all the angels that hover there, from their friend Randall Thompson. 21.VII.'41." . -A

Artists

Seiji Ozawa became the BSO's thirteenth music director in 1973, after a year as music adviser; he celebrates his twentieth anniversary as the BSO's music director this season. Born in 1935 in Shenyang, China, Mr. Ozawa studied music from an early age and later graduated with first prizes in composition and conducting from Tokyo's Toho School of Music, where he was a student of Hideo Saito. In 1959 he won first prize at the Interna- tional Competition of Orchestra Conductors in Besan^on, France, after which Charles Munch, then music director of the Boston Symphony, invited him to attend the Tanglewood Music Center. There he won the Koussevitzky Prize for outstanding stu- dent conductor in 1960. Mr. Ozawa conducted his first Boston Symphony concert in 1964 at Tanglewood, of which he became artistic director in 1970. He recently became the first recipient of Japan's Inouye Sho (the "Inouye Award," named after this century's preeminent Japanese novelist, Yasushi Inouye) recognizing lifetime achievement in the arts.

Equally renowned as pianist, conductor, and teacher, Leon Fleisher was named artistic director of the Tanglewood Music Center in 1985. Mr. Fleisher made his debut with the New York Philharmonic in 1944 when he was sixteen, as soloist in the Brahms D minor piano concerto under Pierre Monteux's direction, and went on to gain recognition as one of America's most important pianists. In the mid-1960s an ailment later diagnosed as "carpal tunnel syndrome" crippled his right hand; he even- tually readjusted to a new career, mastering the keyboard literature for left hand and forging a reputation as a conductor. He made his New York conducting debut at the Mostly Mozart Festival in 1970, became associate conductor of the Baltimore Symphony in 1973, and has since appeared as a guest conductor with orchestras throughout the world. Mr. JFleisher has given master classes at the Salzburg Mozarteum, the Paris Conservatory, the Ravinia Festi- val, and New York's Metropolitan Museum of Art. In May 1990 his thirty years, of teaching at the Peabody Conservatory were celebrated with a gala concert in' his honor.

John Williams became Laureate Conductor of the Boston Pops in Janu- Pm | ary 1994, having stepped down the previous month from the position he had held as Conductor of the Boston Pops since January 1980. Mr. Wil- 3*\ liams has composed the music and served as music director for more than ^L „jpp seventy-five films. He has received thirty Academy Award nominations and has been awarded five Oscars and fifteen Grammy awards, as well as ^^^ > several year the Oscar for his I gold and platinum records/This he won score to Steven Spielberg's film Schindler's List. In addition to his film music, Mr. Williams has written numerous concert pieces, including two symphonies, a flute concerto, and a violin concerto. His recent works include music for the 1992 Summer Olympics, a bassoon concerto commissioned for New York Philharmonic principal bassoonist Judith LeClair, and the new Concerto for Cello and Orchestra, composed for Yo-Yo Ma, commissioned by the Boston Symphony Orchestra, and receiving its world premiere this evening. Norio Ohga, President and Chief Executive Officer of Sony Corpora- tion, began his career as a professional musician in 1951, making his singing debut as baritone soloist in Brahms's German Requiem. He graduated in 1953 with top honors from the Tokyo National University

of Fine Arts and Music. It was also during this time that his relationship with Sony began: as a student, he advised Sony's engineers for many years and produced one of Sony's first tape recordings. After earning his master's degree, Mr. Ohga continued his musical studies in Munich under Gerhard Husch. He won the Mozart Bicentennial Anniversary Competition in Salzburg in 1956 and graduated from Berlin's Kunst Universitat in 1957. In 1959, in the midst of a flourishing

-singing career, he was persuaded to join Sony by its present chairman, Akio Morita; at Sony he has been influential in, among other things, the establishment of the compact disc. In recent years he has brought his musical training to the fore by conducting a number of special benefit performances, including concerts with the Tokyo Philharmonic Orchestra, members of the Metropolitan Opera Orchestra, the ORF Symphony Orchestra, and the

Pittsburgh Symphony. ,

Cellist Yo-Yo Ma has earned an international reputation as an ambassador

for classical music and its vital role in society. In addition to his appear-

ances with orchestra, he is deeply committed to performing the vast chamber music literature. Contemporary music, particularly by Amer-

ican composers, is an important part of his repertoire. This past April at Symphony Hall he gave the world premiere with Seiji Ozawa and the Boston Symphony of John Harbison's Cello Concerto, which was jointly commissioned by the BSO and the Chicago Symphony Orchestra. Future commissions will include works by Richard Danielpour and Ivan Tcherepnin. Mr. Ma devotes a considerable portion of his time to teaching, spending part of each summer at Tanglewood, where, be- sides performing with the BSO and in chamber ensembles, he works closely with students

, at theTanglewoodvMusic Center. Born in Paris in 1955 to Chinese parents, Mr. Ma gave his first public recital at five. In 1991 he received an honorary doctorate in music from his alma N mater, Harvard University.

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American baritone Sherrill Milnes was launched to stardom in 1968 with his Metropolitan Opera performance in Verdi's Luisa Miller; his inter- national career began in 1970 with Macbeth at the Vienna Staatsoper. The recipient of numerous honors, Mr. Milnes was named a Commendatore

of the Italian Republic in 1982 for his 1 continuing commitment to Italian opera and received New York City's Seal of Recognition onstage at the Met in 1987. He holds the distinction of being the most-recorded Amer- ican opera singer, with a discography of more than sixty recordings on all the major labels, including operatic roles, Lieder, oratorio, symphonic works, and folk song. He has worked extensively with young singers throughout his career, including master classes and more extensive teaching during his concert and opera tours, and became Professor of Music at the

Yale University School of Music in the fall of 1990. An alumnus of the Tanglewood Music Center, Mr. Milnes made his Boston Symphony debut at Tanglewood in 1968 and appeared with the BSO most recently in the gala Tanglewood concert marking the Music Center's fiftieth anniversity in July 1990. The American pianist Peter Serkin has performed frequently with the Boston Symphony Orchestra since his first Tanglewood appearance in 1970 and has been a faculty member at the Tanglewood Music Center since 1985. Acclaimed for his performances with orchestra, as recitalist, ^B as chamber music collaborator, and as recording artist, he maintains an

, . absorbing interest in contemporary music, and is esteemed as much for a7^ his work in that area as for his performances of music by Bach, Mozart, and Beethoven. He has given the world premieres of numerous works, including Peter Lieberson's Piano Concerto written for the Boston Symphony Orchestra's centennial. His 1989-90 season was notable for his unprecedented eighteen-city recital tour featuring eleven new works commissioned by him from ten composers. Also on the faculties of the Juilliard School, Mannes College of Music, and the Curtis Institute of Music, Mr. Serkin was the \ first pianist to receive the Premio Internazionale Musicale Chigianain recognition of his outstanding artistic achievement. r

The Tanglewood Festival Chorus was organized in the spring of 1970, when founding conductor John Oliver became director of vocal and choral activities at the Tanglewood Music Center. Co-sponsored by. the Taflglewood Music Center and Boston University, and originally formed for performances at the Boston Symphony Orchestra's summer home, the chorus was soon playing a major role in the BSO's Symphony Hall season as well. Now the official chorus of the Boston Symphony Orches-

tra, the Tanglewood Festival Chorus is made up of members who donate their services, performing in Boston, New York, and at Tanglewood. The chorus has also collaborated with Seiji Ozawa and the Boston Symphony Orchestra on numerous recordings (including Beethoven's Choral Fantasy, with pianist Rudolf Serkin) and may also be heard on two Christmas albums with John Williams and the Boston Pops Orchestra. In addition to his work with the Tanglewood Festival Chorus, John Oliver is conductor of the MIT Chamber Chorus and MIT Concert Choir, a senior lecturer in music at MIT,

and conductor of the John Oliver Chorale, which he founded in 1977. His recent appear: ances as a guest conductor have included performances of Mozart's Requiem with the New Japan Philharmonic and Mendelssohn's Elijah with the Berkshire Choral Institute. Mr. Oliver made his Boston Symphony conducting debut at Tanglewood in 1985. ' »

Tanglewood Festival Chorus John Oliver, Conductor

Sopranos • Annette Anfinrud • Gina Beck • Michele M. Bergonzi • Jennifer E. Brown • Susan

Cavalieri • Sara Dorfman • Ann M. Dwelley • Cheri E. Hancock • Katherine Hatfield • Holly MacEwen Krafka • Charlotte C. Russell • Melanie W. Salisbury • Joan Pernice Sherman •

Mary Beth Stevens • Sarah J. Telford • Mezzo-sopranos * Maisy Bennett • Sharon Brown • Constance T. Cahill • Sharon Carter • Diane Droste • Barbara Naidich Ehrmann • Paula

Folkman • Irene Gilbride • Alida Griffith • April Merriam • Susan Quinn Pierce • Linda Kay

Smith • Julie Steinhilber* Dianne M. Terp • Cynthia Rodgers Zimmerman • Tenors • Paul

Allen • James Barnswell • Richard A. Bissell • Kenneth I. Blum • Wayne N. Curtis • Kent Montgomery French • David Mack Henderson • James R. Kauffman • Ronald Lloyd • Henry Lussier • John Vincent Maclnnis"* David Hale Mooney • John R. Papirio • Don P. Sturdy •

Benjamin Antes Youngman • Basses • Mel Conway • Tim Dreyer • Steven Ledbetter • David K.

Lones Greg Mancusi-Ungaro • Rene A. Miville • Clark Nelson • Stephen H. Owades • Carl R. Petersheim • MichaeLJ. Prichard • Peter Rothstein • Karl Schoellkopf • Frank R.

Sherman. • Rubens P. Silva • Brad Turner •

Virginia S. Hecker, Manager • Shiela Kibbe, Rehearsal Pianist Ronald Knudsen Basses Horns Edgar and Shirley Edwin Barker Charles Kavalovski Grossman chair Principal Principal Joseph McGauley Harold D. Hodgkinson Helen Sagoff Slosberg chair Leonard Moss chair Richard Sebring "Harvey Seigel Lawrence Wolfe Associate Principal ::'Nancy Bracken Assistant Principal Margaret Andersen Maria Nistazos Stata Congleton "Aza Raykhtsaum chair chair, fully funded Daniel Katzen Ronan Lefkowitz in perpetuity Elizabeth B. Storer chair "Bonnie Bewick Joseph Hearne Jay Wadenpfuhl ::"James Cooke Leith Family chair, fully Music Directorship endowed by Richard Mackey funded in perpetuity John Moors Cabot §Joseph Conte Jonathan Menkis John Salkowski §Lisa Crockett BOSTON SYMPHONY Joseph andJan Brett Trumpets § Daniel Banner Hearne chair ORCHESTRA Charles Schlueter : " Robert Olson 1993-94 Principal Violas : james Orleans Roger Louis Voisin chair Rebecca Young :"Todd Seeber Peter First Violins Chapman Principal : "John Stovall Ford H. Cooper chair Malcolm Lowe Charles S. Dana chair : Timothy Morrison Concertmaster 'Dennis Roy Associate Principal Charles Munch chajr Assistant Principal Flutes Thomas Rolfs Tamara Smirnova-Sajfar Anne Stoneman chair, fully Associate Concertmaster funded in perpetuity Trombones Helen Horner Mclntyre Principal Ronald Wilkison Ronald Barron chair Walter Piston chair Lois and Harlan Principal Victor Romanul Anderson chair J. P. and Mary B. Barger Assistant Concertmaster Acting Principal Robert Barnes chair, fully funded Robert L. Beal, and Enid Marian Gray Lewis chair, Burton Fine in perpetuity L. and Bruce A. Beal chair fullyfunded in perpetuity Norman Bolter Laura Park Joseph Pietropaolo Fenwick Smith Michael Zaretsky Assistant Concertmaster Acting Assistant Principal Bass Tr6mbone Edward and Bertha C. Marc Jeanneret Myra and Robert Kraft Douglas Yeo Rose chair "Mark Ludwig chair Bo Youp Hwang "Rachel Fagerburg § Catherine Payne Tuba John and Dorothy Wilson Chester Schmitz "Edward Gazouleas Piccolo chair, fully funded Margaret and William "Kazuko Matsusaka in perpetuity Geralyn Coticone C. Rousseau chair Lucia Lin § Emily Bruell Evelyn and C. Charles Forrest Foster Collier chair Marran chair Timpani Leo Panasevich Cellos ^Everett Firth Oboes Carolyn and George Jules Eskin Sylvia Shippen Wells chair Rowland chair Principal Alfred Genovese Principal Percussion Gottfried Wilfinger Philip R. Allen chair Mildred B. Remis chair Dorothy Q. and David B. Martha Babcock Thomas Gauger Peter and Anne Brooke chair Arnold, Jr., chair, fully Assistant Principal Wayne Rapier funded in perpetuity Vernon and Marion Keisuke Wakao Frank Epstein Alfred Schneider Alden chair Assistant Principal Peter Andrew Lurie chair Muriel C. Kasdoh and Sato Knudsen J. William Hudgins English Marjorie C. Paley chair Esther S. andJoseph M. Horn Timothy Genis Raymond Sird Shapiro chair Assistant Timpanist Ruth and Carl Shapiro chair Joel Moerschel Beranek chair, fully Ikuko Mizuno Sandra and David funded in perpetuity Harps Amnon Levy Bakalar chair Ann Hobson Pilot Clarinets Principal Theodore W. and Evelyn "Robert Ripley \ Willona Henderson Berenson Family chair Richard C. and Ellen E. Principal Sinclair chair : Paine chair, 'Jerorrte Rosen fully funded in perpetuity Ann S.M. Banks chair Sarah Schuster Ericsson :'Sheila Fiekowsky Luis Leguia Thomas Martin :'Jennie Shames Librarians Robert Bradford Acting Principal 'Valeria Vilker Kuchment Newman chair William R. Hudgins Marshall Burlingame :"Tatiana Dimitriades Carol Procter Acting Assistant Principal Principal William Shisler "Si-Jing Huang Lillian and Nathan R. §Julie Vaverka Miller chair James Harper " Second Violins :"Ronald Feldman Bass Clarinet Marylou Speaker Churchill Charles andJoAnne Craig Nordstrom Assistant Conductors Principal Dickinson chair • Farta and Harvey Chet Thomas Dausgaard Fahnestock chair "Jerome Patterson Krentzman chair Elizabeth and Allen Z. Vyaeheslav Uritsky Kluchman chair ""Jonathan Miller Bassoons Assistant Principal "Owen Young David Wroe Richard Svoboda Anna E. Fmnerty chair Charlotte and Irving W. Cogan,Jr., and John F Principal Rabb chair Mary Comille chair Edward A. Taft chair Personnel Managers Roland Small Lynn Larsen

Richard Ranti ; Bruce M. Creditor Associate Principal '•'Participating in a system of rotated Stage Manager seating Contrabassoon Position endowed by %On sabbatical leave Gregg Henegar Angelica L. Russell ^Substituting, Tanglewood 1994 Helen Rand Thayer chair Peter Riley Pfitzinger Tanglewood Music Center 1994 Fellowship Program

Violin Vita Wallace, Philadelphia, PA Jorge Avila, San Pedro Sula, Honduras Presser Foundation Fellowship Omar Del Carlo Tanglewood Fellowship Katherine Wolfe, Minnetonka, MN Nurit Bar-Josef, Needham, MA Gerald Gelbloom Memorial Fellowship Hannah and Raymond Schneider Fellowship BingJingYu, Levittown, PA liana Blumberg, El Cerrito, CA Starr Foundation Fellowship Karl Burack Memorial Fellowship Glen Cherry, Vermillion, SD Viola Fellowship Carolyn and George Rowland Karin Addis, Iowa City, IA Eleanor Panasevich in Honor of Dr. Marshall N. Fulton Memorial Fellowship France Guillaume Combet, Chatellerault, Andrew Cahoon, Vienna, VA Florence Gould Foundation Fellowship Frederic and Juliette Brandi Fellowship Cutler, San Ramon, Amy CA Peter Chun, Seoul, Korea Anonymous Fellowship Daphne Brooks Prout Fellowship Fairbanks, Sara DeCorso, AK Matthew Dane, Veazie, ME Mrs. E. Remis Fellowship Mr. and Robert Marion Callanan Memorial Fellowship Evans, Salt Lake City, Joseph UT Marka Gustavsson, Greencastle, IN -' Patricia Wylde Fellowship Plum Red Lion Inn Fellowship Gregory Ewer, Houston, TX Jessica Nance, Ann Arbor, MI Jane W. Bancroft Fellowship Helena Segy Foundation Fellowship Horowitz, Amherst, > Jason MA Irina Naryshkova, Novosibirsk, Russia Eunice Cohen Fellowship Miriam and Sidney Stoneman Fellowship Helen Kim, Timonium, MO Charles Noble, Puyallup, WA Mr. Mrs. David B. Arnold, Fellowship and Jr. Anonymous Fellowship York, Beth Kipper, New NY Mari Sawada, Tokyo, Japan Bristol- Meyers Squibb Foundation Boston Symphony Orchestra Fellowship Fellowship Naoko Shimizu, Tsukuba, Japan KwuQn, Los Angeles, Joan CA Boston Symphony Orchestra Fellowship Mr. and Mrs. Frank M. Moody Fellowship Jessica Troy, Setauket, NY Maria Lin, Tappan, NY James A. Macdonald Foundation Fellowship Edward S. Brackett, Jr. Fellowship Joli Wu, Santa Monica, CA Noriko Matsuda, Tokyo, Japan Gilbert Cohen Memorial Fellowship William Kroll Memorial Fellowship Ioana Missits, Cluz, Romania Ruth and Alan Sagner Fellowship Cello Yoe Miyazaki, Tokyo, Japan Hilary Brown, Nova Scotia, Canada Klaus Fellowship Leo /,. Beranek Fellowship and Bobbie Hallig Lyrico Nakajima, Tokyo, Japan Katherine Cherbas, Bloomington, IN Aso Tavitian Fellowship Mr. and Mrs. William C. Rousseau Fellowship Atsuko Neriishi, Yokohama, Japan Morris A. Schapiro Fellowship Kari Docter, Bloomington, MN Harry and Mildred Remis Fellowship Evangeline Peters, New Albany, IN Max Winder Violin Fellowship Julian Hersh, Mill Valley, CA Naomi and Philip Kruvant Fellowship Anna Presler, Berkeley, CA Albert L. and Elizabeth P. Nickerson Ludmila Konstantinova, Sofia, Bulgaria Fellowship Dr. John H. Knowles Memorial Fellowship Kathryn Robertson, Fort Wayne, IN Jason McComb, Vancouver, WA Clowes Fund Fellowship Mr. and Mrs. Richard M. Fraser Fellowship Leslie Ryang, East Amherst, NY Jennifer Morsches, New York, NY Edward G. Shufro Fellowship Mr. and Mrs. Belvin Friedson Fellowship Anait Seiranian, Pittsburgh, PA Katie Schlaikjer, Concord, MA Philip and Bernice Krupp Fellowship Susan Kaplan/Ami Trauber Fellowship Ashley Stevens, Cheltenham, England Rebecca Thornblade, Syracuse, NY Rapaporte foundation Fellowship Priscilla H. Garlock Fellowship

/ Julia Tom, Berkeley, CA Eric Bradbury, Boston, MA Luke B. Hancock Foundation Fellowship Housatonic Curtain Company Fellowship Benjamin Wolff, New York, NY Hana Kim, Seoul, Korea Charles E. Qulpeper Foundation Fellowship Boston Symphony Orchestra Fellowship

Yang, San Francisco, • Amos y CA Jocelyn Langworthy, Woodbury, MN Northern California Fund Fellowship Helehe R. and Norman Cahners Fellowship

Double Bass Bass Clarinet Scott Best, Newton, MA David Chalick, Santa Barbara, CA Lucy Lowell Fellowship Leonard Bernstein Fellowship John Grillo, Oceanside, MA Surdna Foundation Fellowship Saxophone Donald Howey, Sudbury, MA John Miller, Glasgow, Scotland BayBanks Fellowship English -Speaking Union Fellowship Jeremy Hulick, Vergennes, NY Bassoon/Contrabassoon Stanley Chappie Fellowship . Michael Kazepides, British Columbia Lynne Feller, Rochester, NY Boston Symphony Orchestra Fellowship - Anonymous Fellowship David Moore, Los Angeles, CA Hiromijmura, Osaka, Japan Koussevitzky Music Foundation Fellowship Sherman Walt Fellowship in Memory of Margaret Grant J. Christopher Marshall, Hurst, TX Burke Shaw, Poughkeepsie, NY Robert G. McClellan,Jr. and Caroline Grosvenor Congdon Memorial IBM Matching Grant Fellowship Fellowship Valentin Martchev, St. Zagora, Bulgaria Mr. and Mrs. John C. Haas Fellowship Flute Ryan Simmons, Huntington Beach, CA Jennifer Dame, Phoenix, MD Mrs. Harris Fahnestock Fellowship James and Athena Garivaltis Fellowship Shannon Finney, Chicago, IL Horn Susan Morse Hilles Fellowship Christopher Caudill, The Woodlands, TX Christina Jennings, Ann Arbor, MI Boston Symphony Orchestra Fellowship Tappan Dixey Brooks Fellowship Christopher Cooper, Millbrae, CA Zara Lawler, New York, NY Rosamond Sturgis Brooks Fellowship Anonymous Fellowship Christopher Gongos, Ontario, Canada Demarre McGill, Chicago, IL Lia and William Poorvu Fellowship Nathan Cummings Foundation Fellowship Stephen Kostyniak, Burnt Hills, NY Frelinghuysen Foundation Fellowship Oboe Elizabeth Rhodes, Whitewater, WI Erin Gustafson, Puyallup, WA Boston Symphony Orchestra Fellowship Augustus Thorndike Fellowship George Warnock, Boulder, CO Eugene Izotov, Highland Park, NJ Arthur Fiedler/ Leo Wasserman Fellowship Geraldine R. Dodge Foundation Fellowship Alexandra Knoll, Philadelphia, PA Trumpet Mr. and Mrs. Hugh Downs Fellowship Daniel Duncan, Waltham, MA Kathy Lord, Springfield, PA Andre Come Memorial Fellowship

Stephen and Persis Morris Fellowship Mark Inouye, New York, NY ) Marilyn Schram, Anaheim, CA Country Curtains Fellowship Fernand Gillet Memorial Fellowship Gary Peterson, Brookline, MA Armando A. Ghitalla Fellowship Clarinet Richard Watson, Danvers, MA Scott Andrews, Virginia Beach, VA Boston Company Fellowship Barbara Lee/Raymond E. Lee Foundation Jeffrey Work, Ann Arbor, MI

Fellowship ' Wynton Marsalis Fellowship Igor Begelman, Brooklyn, NY Kandell Family Fellowship '

Tenor Trombone Composition Mark Horner, Bar Harbor, ME Anthony Brandt, Cambridge, MA Judy Gardiner Fellowship Aaron Copland Fund for Music Fellowship Eran Levy, Naharia, Israel Gregory D'Alessio, New York, NY Lola and Edwin Jaffe Fellowship Otto Eckstein Family Fellowship Scott Pemrick, Brookline, MA ' Ronald Ford, Amsterdam, The Netherlands

J. P. and Mary Barker Fellowship Ann and Gordon Getty Foundation Fellowship Bass Trombone Micha Hamel, Amsterdam, The Netherlands Jeremy Van Hoy, Detroit, MI Benjamin Britten Memorial Fellowship Robert and Sally King Fellowship Chris Theofanidis, Stamford, CT Bessie Pappas Fellowship Tuba AlessandroTimossi, Genoa, Italy Steve Campbell, Brenham, TX Olivetti Foundation Fellowship David K. and Muriel K. Pokross. Fellowship Jason Uechi, Kealakekua, HI DeWitt Wallace-Reader's Digest Fund Timpani/Percussion Fellowship Barry Dove, Baltimore, MD Frederick W. Richmond Foundation Conducting Class Fellowship Pei-Yu Chang, .Taipei, Taiwan Jonathan Fox, Norwood, MA Mr. and Mrs. Allen 2. Kluchman Fellowship Edward G. Shufro Fellowship Stephen D'Agostino, Lindenhurst, NY Jerome LaCorte, Mentor, OH Leonard Bernstein Fellowship Juliet Esselborn Geier Memorial Fellowship Achim Fiedler, Aichtal, Germany Charles Lawyer, Bloomington, IN Willy Schaller Fellowship Boston Symphony Orchestra Fellowship Jurjen Hempel, Almere, The Netherlands Alex Orfaly, Belmont, MA Seiji Ozawa Fellowship Rita Meyer Fellowship Eric Lindholm, Stamford, CT JohnTanzer, Bedford, MA William and Mary Greve Foundation Berkshire Life Insurance Company Fellowship Fellowship Kevin Noe, Houston, TX

i Maurice Abravanel Scholarship Harp Jonathan Shames, Ithaca, NY Han, Seoul, June Korea Koussevitzky Music Foundation Fellowship John and Susanne Grandin Fellowship Keri-Lynn Wilson, New York, NY Elisabeth Remy, Brewster, MA Edward and Joyce Linde Scholarship Harry and Marion Duhhs Fellowship! Brookline Youth Concerts Awards Chamber Ensemble Residency Committee Fellowship and Kathleen Hall Rackham String Quartet Banks Fellowship Lenora-Marya Anop, Rochester, NY

William Randolph Hearst Foundation . Piano/Keyboard Fellowship Melvin Chen, Nashville, TN Laurel Butler, Rochester, NY William R. Housholder Fellowship Haskell Gordon Memorial Fellowship Yuliya Gorenman, Walnut Creek, CA Kenneth Martinson, Rochester, NY Billy Joel Keyboard Fellowship

Merrill Lynch Fellowship . Paige Hoffman, New York', NY Andrew Ruben, Rochester, NY Baldwin Piaj}0 and Organ Company William F. andJuliana W. Thompson Fellowship Fellowship Hsjng-Chwen Hsin, Taipei, Taiwan f

William J. Rubush Memorial Fellowship Amernet String Quartet Pei-Yee Lee, Taipei, Taiwan Javier Arias^Flores, Mexico City, Mexico Peggy Rockfeller Fellowship Omar Del Carlo Tanglewood Fellowship Hiroko Sasaki, Tsu-City, Japan Malcolm Johnston, Glasgow, Scotland Marie Gillet Fellowship Ruth S. Morse Fellowship Michael Torre, San Bruno, CA Kyoko Kashiwagi, Cincinnati, OH PaulJacobs Memorial Fellowship Darling Family Fellowship \ Orit Wolf, Mevaseret, Israel Marcia Littley de^Arias, Cincinnati, OH Marilyn Brachman Hoffman Fellowship Boston Symphony Orchestra Fellowship ,•'' '"*.'• K *'«i. ':':: 1

Voice Phyllis Curtin Seminar for Singers Laura Bewig, Andover, MA Michelle Abadia, Caguas, Puerto Rico Theodore Edson Parker Foundation Boston Symphony Orchestra Scholarship Fellowship Heidi Anderson, Sharon, MA Stephanie Blythe, Potsdam, NY Berkshire County Savings Bank Scholarship Bernice and Lizbeth Krupp Fellowship Anne Berg, Brookline, MA SeongSook Choi, New York, NY Boston Symphony Orchestra Scholarship ' Leonard Bernstein Fellowship Anna-Maria Bogner, Dachau, Germany Robert Eich, Sound Beach, NY Aaron Borst, Bay Village, OH Francis and Caryn Powers Fellowship Evelyn and Phil Spitalny Scholarship Margery Hellmold, New" York, NY Jacqueline Bozza, Massapequa, NY Nancy Lurie Marks Fellowship William E. Crofut Family Scholarship

Randall J akobsh, Toronto, Ontario, Canada David Dillard, Austin, TX Donald Bellamy Sinclair Fellowship Leah Jansizian Memorial Scholarship Yoon-Sook Lee, Seoul, Korea Stacey Fraser, Glasgow, Nova Scotia Mr. and Mrs. Victor P. Levy Fellowship Boston Symphony Orchestra Scholarship Thomas Lehmkuhl, Lafayette, CA Jenny Shang-Chen Fu, Taiwan Mildred A. Leinhach Fellowship Stuart Haupt Scholarship Deanne Meek, New York, NY Virginia Green, Durham, NC Ann and Gordon Getty Foundation Dorothy and Montgomery Crane

. Fellowship Scholarship Thomas Meglioranza, Wayne, NJ Jennifer Griffith, Baltimore, MD Geraldine R. Dodge,JFoundation Fellowship Mary H. Smith Scholarship Kelley Nassief, Beaverton, OR Anne Harley, Brighton, MA Nathan Fellowship Abbyandjoe Elizabeth Kennedy, St. Louis, MO Helena Rasker, Amsterdam, The Netherlands Boston Symphony Orchestra Scholarship Charles L. Read Foundation Fellowship Jennifer Marquette, Indiana, PA

\ Julia Oesch, Hattershein, Germany Vocal Accompaniment Claire and Millard Pryor Scholarship Chien Chou, Toronto, Ontario, Canada David Ossenfort, Tuckahoe, NY

. Orchestra Fellowship Boston Symphony Tanglewood Programmers and Ushers John Churchwell, Minneapolis, MN Scholarship Harry Stedman Fellowship Savitri Pedraglio, Wardha, India Jonathan Faiman, New York, NY Sarah Pelletier, Attleboro, MA Wilhelmina Sandwen Fellowship Cynthia L. Spark Scholarship Lawsoh, Los Angeles, CA Joseph Cynthia Plumb, Storrs, CT and Sherman Fellowship Ruth Jerome Eugene Cook Scholarship Caren Levine, Valley Stream, NY Anne Riesenfeld, Cambridge, MA R. Amory Thorndike Fellowship Chad Smith, Gettysburg, PA Marchwinska, Warsaw, Poland Anna Tisch Foundation Scholarship Felicia Montealegre Bernstein Fellowship Katherine Soscia, Rochester, NY Kyle Nobles, Stamford, CT Richard F. Gold Memorial Scholarship Mr. and Mrs. Vincent J. Lesunaitis Lynn Spurgat, St. Joseph, MO Fellowship Leah Summers, Miami, FL Cristina Stanescu, Craiova, Romania Andrall andJoanne Pearson Scholarship Stokes Fellowship Christine Szabo, Ontario, Canada Valerie Trujillo, Tallahassee, FL Shawn Verges, Sudell, LA Mrs. Peter LB. Lavan Fellowship Boston Symphony Orchestra Scholarship Jennifer Wagner, Louisville, KY Dana Whiteside, Jamaica Plain, MA Nat Cole Memorial Scholarship I I I Iv f%«»

•V

J I WHESEBXm SEIJI OZAWA HALL

N G l t W

Seiji Ozawa Hall Gala Opening Concert

The Trustees and Overseers of the Boston Symphony Orchestra acknowledge the support of the following individuals and are delighted to welcome them to the Gala

Opening of Seiji Ozawa Hall.

Benefactors

Mr. and Mrs. Herbert B. Edwin and Lola Jaffe Eduardo R. Plantilla, MD, Abelow Edna and Bela Kalman and Lina S. Plantilla, MD Keiichi Akahane Mr. and Mrs. Murray S. Katz Carol A. Rennie Agnes Albert Mrs. Roslyn Katz Mr. and Mrs. David

Mr. and Mrs. Harlan E. George H. Kidder Rockefeller, J r. Anderson Tomoji Kifune Daniel L. Romanow, B. Michael Kittredge in of Bertha Mayer Mr. and Mrs. David , J. memory Arnold Jr. Douglas and Judith Krupp Romanow Sato Ashizawa George and Liz Krupp Mrs. George R. Rowland Dr. and Mrs. Leo L. Beranek Phillip and Bernice Krupp Ruth and Alan Sagner

Allen J. Bernstein Mr. and Mrs. Robert J. Milton Schneider Gunther Breest Lepofsky Dr. Raymond H. and Ann Fitzpatrick Brown Vivian and Martin Levin Hannah H. Schneider Honorable and Mrs. William S. Gloria and Leonard Luria Aaron and Abby Schroeder Bulger Mr. Matsumura Ron and Evelyn Shapiro Mr. and Mrs. Paul Burak Mr. and Mrs. August Meyer Tetsuo Shirakura Richard S. and Betty O. Gloria N. Moody Sharon R. Simons Burdick Estate of William Moskowitz Sony Corporation of America Chiles Foundation Mr. and Mrs. Katsuya Rosemary and Arthur

' Joseph and Phyllis Cohen . Nakamura Strickmah

Herbert J. Coyne Tsuneya Nakamura, Corporate Mineo Sugiyama

Nelson J*» Darling Jr. Advisor, Seiko Epson Corp. Dr. and Mrs. H. Washio Mrs. Harris Fahnestock Paul and Chloe Nassau Laurie and Bob Watson Jane and Jack Fitzpatrick NEC Jack and Phyllis Wertenteil Mr. and Mrs. Dale E. Fowler Ken Nees Mr. and Mrs. M. Wexler Rita and Herbert Z. Gold Linda and Stuart Nelson George and Gabrielle Jane and John B. Goodwin Mrs. Robert B. Newman Whitehouse Mrs. Haskell R. Gordon Ken Nitta Mr. and Mrs. Ronald A. Klaus and Bobbie Hallig Tai Onishi Wilford Joseph and Jan Brett Hearne Mitsuru Onki The Reverend and Mrs. ' Mr. and Mrs. Nick Henny Toshio Ono Cornelius Ayer Wood Lois U. Horvitz Mr. S. Paul Mr. and Mrs. Carl Yankowski William and Patsy Housholder Mrs. Carl Pearl Hideaki Yasukawa, President, Mrs. John R. Hupper Seiko Epson Corp.

Patrons

Richard Balsam, MD Hirsch and Linda F. Vogel Mr. and Mrs. Louis A. Rose Ann V. Dulye Kaplan Lily and Voni Sarfati Honorable and Mrs. Steve and Nan Kay Mr. N. Sato Peter H.B. Frelinghuysen Joyce and Edward Linde Mr. K. Shimizu

Carol R. and Avrarh J. Diane H. Lupean Mr. K. Sugawara Goldberg Mrs. Edward M. Lupean Aso and Arlene Tavitian Mrs. David Griesinger Mr. and Mrs. Michael Ohanian Barry Wine Mr. Hara Attorney Otto P. Robinson \ Sponsors

J. P. Barger Mrs. and Mrs. Theodore Caroline Loomis Killam Moller Robert E. Baum Ginsberg and Henry Gerdes Molier George and Roberta Berry Dr. Kathleen M. Gorski Mr. and Mrs. David M. Birgit and Charles Blyth Gretchen and Heather Naseman John F. Cogan, ]r. Hamilton Shigeru Sakuta

Mary L. Cornille Mr. and Mrs. Paul J. Henegan Ms. N. Sato Clive S. Cummis Mrs. Charles Fox Hovey Dr. and Mrs. Robert Schrier

Nader and Cynthia Darehshori Mr. and Mrs. C.H. Jenkins, Jr. Frank S. Shewer Ruth and Hugh Downs Mrs. Eleanor Kass Mr. and Mrs. Richard F. Ann V. Dulye Lee Lamont, President, ICM Shields George M. Elvin Artists Mr. N. Torii Dean Freed Mrs. Knud Laursen Mr. and Mrs. Stephen R. Stefan M, Freudenberger Mr. and Mrs. R. Willis Weber

Kazuhiko and Aoi Fukami Leith, Jr. Dr. and Mrs. Harold J. White

Friends

Mr. and Mrs. William Richard W. DwightM.D. Erwin Greenberg Achtmeyer Mr. and Mrs. Harold A. Mr. David Griesinger Takuo Akai Easton Gustav Freud Lawrence and Ruth Alexander Ginger Edman Mrs. James Henry Helaine and Alvin B. Allen Honorable and Mrs. Warren W. Barbara and Sam Herzberg

Dr. and Mrs. David Atkin Eginton" Paul J. and Maureen J. Hickey Mr. and Mrs. Robert Bass Dr. and Mrs. Stuart Eichenfield Yasuko Higuchi Helene and Adolph Berger Ellen Elk Drs. Joan and Jerome Mr. and Mrs. Adolph Berger Henry David and Henny Hoffman Berger Rait Design Assoc, Wenkart Epstein Carol Scheifele-Holmes Inc. Cornelia P. Erbe and Ben Holmes Berkshire County Savings Phyllis Ettinger Dwight R. Holmes Bank Larry A. Fader and Cynthia O. Charles and Holly Housman Harriet Bernstein Lambert Thomas R. Howell

Phyllis Biene"r . K.H. FairbenjI Phyllis F. Huberman (Biener Agency Inc.) Mr. and Mrs. Harold M. Falik Mr. and Mrs. F. Donald y Ann and Neal Blackmarr Reg and Micki Fecteau Hudson Dr. Charles and Linda Bleich Peter and Nancy Finn ^ HolcombeA.J. Hughes Rhoda C. Bonville Betty Fleischman Misao and Walter Hunley

' Dorothy and Hale Brandt , Michael and Elinor Flyer Joan and Jim Hunter Roslyn Bremer Mary and Henry Flynt Mr. and Mrs. Werner

Edward and Marguerite Bride Daniel and Shirlee Cohen Janssen, Jr. C.T. Brigham Co. Inc. Freed Mr. and Mrs. Irving Kalmanoff Jim Burke Dr. Stanley D. Freint Dr. Alice Kandell Abby Camp David and Magda Fried Nancy and Jerry Kaplan Jodie and Matthew Carone Anne and Eric Friedl Leonard and Marcia Simon Mr. and Mrs. Nicholas F. Ralph and Audrey Friedner Kaplan Cognetta Carol Fryd Deborah and Arthur Kaufman Dr. and Mrs. Barry H. Cohen Mr. and Mrs. Billings S. Fuess Robert and Luise Kleinberg Elizabeth Coleman Tetsuya Fujita Karen and Gary Kleinerman 1 Professor Arthur Collins Mr. and Mrs. Oliver Gayley Marilyn Bone Kloss

' and Stephanie Barber Ms. Molly Gayley George and Elizabeth Kramer Johns H. Congdon GE Plastics Chet and Farla Krentzman

Marie L. and Robert J. Cotton Dr. Merwin Geffen and Joseph Kruger Mr. and Mrs. Robert Cowden Dr. Norman Solomon Harold and Joan Kuskin Susan and Scott Cunningham Gary Gelfenbien Carol and Alfred Landess Jacqueline DaCosta Catherine Gevers Dr. and Mrs. Sanford Langsam Mr. and Mrs. Robert Warren Dr. Donald and Phoebe William and Marilyn Larkin Davis Giddon Fay C. Lavan Peter B. and Anna L. Davol Mr. and Mrs. Arnold Golber William and Dorothy Channing and Ursula Dichter Thelma and Ray Goldberg Le Messurier Mr. and Mrs. Eugene B. Jerome and Gail Goodman B. Leavitt Doggett Robert A. Goodman Barbara Lee

Mrs. Judy Drucker Mrs. Haskell R. Gordon Jesse J. Lehman \

Mr. and Mrs. Herb Leifman Shirley and George Perle Robert and Scott Singleton Norma Lesser Mrs. Roger A. Perry, Jr. Doug Slavas and Judy Robert C. Lesser Thomas Perry St. Germain Stuart Lesser Robert and Lyn Petricca Penny L. Smith Stanley M. and Judith B. Nancy and Herb Praver Robert and Jane Socolow Lessler Daphne Brooks Prout Mr. and Mrs. Seymour Judith and Lester Lieberman Mr. and Mrs. Gerald Rauch Solomon Mr. and Mrs. Murray William Rawn Associates, Mr. and Mrs. Irwin Speyer Liebowitz Architects, Inc. Jerry and Emily Spiegel David and Maria Lloyd Peter and Suzanne Read Carl St. Clair Clara and David Londoner Carolee and Nathan Reiber Irma Mann Stearns Patricia B. MacDonald Jonathan A. Rick Stephen Judson

Barbara Jane Macon Stephen J. Ridge Jr. Mr. and Mrs. Ronald Stillman

Mr. and Mrs. Donald F. and Mrs. Stephen J. Ridge Faye G. Stone Malin, Jr. Gordon S. Ridgely Jerry and Nancy Straus Mr. Joseph F. Manogue Mrs. Albert I. Ris Pat and Ed Strawgate Jay and Shirley Marks Thomas A. Robinson ' Constance Sturz

Mr. and Mrs. Mort Marvin Michael J. Rosen Suffolk Construction Robert G. McClellan, Jr. Mr. and Mrs. Merl L. Rouse Company, Inc.

Frank J. McDonnell, Esq. Mr. and Mrs. Jean J. Rousseau Harry F. and Evelyn F. Betsey and David McKearnan Suzanne and Burton Rubin Syrenne Dr. and Mrs. Louis Meeks Dorothy B. Rudisill Phyllis and Edward Teich EllaM. Melville W. Clifford Rudisill Total Travel and Barbara M. Lefkowitz James and Sara Ryan Ursula Traugott Karin B. Michels Marvin and Barbara Sachs Laughran Vaber Mr. and Mrs. Barton H. Miller Nancy L. Salz Gene Vanderpool Mr. Takeshi Misaki " Robert B. Schechter Anke Van Wijck Dorothy and Elihu Modlin Kenneth Schermerhorn Mr. and Mrs. William M. Joyce Morgenstern Mr. and Mrs. Eugene Schnell Vibert jjohn M. Morse Katharine Schrader Mrs. Arthur B. Voorhees Mrs. Norito Nagata Mr. and Mrs. Mark L. Ray E. Wilson Abby and Joe Nathan Selkowitz Barbara Starr Wolf

Dr. and Mrs. Herbert A. Melissa and Patrick Sere Stephanie J. Young Newman Sandra J. Shapiro Shirley and Gam Zemsky George O'Connor Barry and Anne E. Sheridan Dr. and Mrs. Nicholas Zervas Leo Panasevich Dr. Ellen and. Craig Sherman Arnold B. Zetcher Mrs. Douglas Pearson Michael and Jean Shirley Richard M. Ziter, MD

Mrs. J. Herbert Pearson Lester and Marilyn Shulklapper

Names listed as of June 15, 1994. '

! - < *.:.':''-